A Love Supreme begins in abrupt solitude and complete silence.

Four danseurs slit the void. Soon, they get to the walls ornamented with wooden panels shaping up the keyboard of a premonitory piano. It falls to a remarkable Thomas Vantuycom to prepare the ground for the dance.

During this long introduction, Thomas stands barefoot and alone under cold spotlights, motionless. The power of this silence roots the audience to the spot.

Thomas Vantuycom in A Love Supreme by Anne Teresa de Keersmaeker and Salva Sanchis, illustration © Araso
Thomas Vantuycom in A Love Supreme by Anne Teresa de Keersmaeker and Salva Sanchis, illustration © Araso

He steps softly forward, outlines a move, daring to split the air with his arm stretched out. The space around him opens up, the narrow gesture gains amplitude. Limbs in protective rounds evolve in asymmetrical angles; hands progressively look for the ground.

When Coltrane’s jazz chords finally play, the music penetrates the bodies that punctuate every single note, accentuate piano chords in crazy series of petits pas. The embrace and the distance, the self and the ensemble all work to achieve complete corporal freedom.

To create within constraints, to find the right place, the comfortable distance.

To achieve supreme love.


Illustrations © Araso

A Love Supreme was created in 2005 by Anne-Teresa de Keersmaeker and Salva Sanchis on the theme of A Love Supreme by John Coltrane. The show is re-created for 4 dancers at the Théâtre de la Ville and presented at the Centquatre Paris from April 5th to 9th 2017 within the Séquence Danse Festival.